Marc Myers writes daily on jazz legends and legendary jazz recordings

August 02, 2011

John Daversa: Junk Wagon

You know how I'm always carping that jazz doesn't push hard enough to get to the next level? And you know how you email me to ask what exactly I have in mind to illustrate my point? Two words: John Daversa. His first studio CD, Junk Wagon: The Big Band Album is positively fascinating. Unlike many big band outings today that tend to be experimental and tough to chew on for the non-musician, Daversa's new album is an ambitious merging of rock, jazz-funk and big band styles. And it features all original compositions and and arrangements by Daversa.

I knew nothing about Daversa before this CD tumbled in with the mail several days ago. But once I put it on, I was completely in love. It's new and exciting. It's never dull. And it's always reaching for a new jazz style that's both novel and familiar. This isn't retro-Riddle or 22d century space race stuff. There are classical and classic jazz touches, but neither lingers too long before exploding into something fresh and dynamic.

From his website, I learned that Daversa is a Los Angeles musician. This from his bio:

"He attended UCLA, studying composition and trumpet with virtuosi Mario Guarneri and Malcolm McNab. Although Daversa’s musical interests were firmly placed in jazz, he studied classical composition to deepen his understanding of the art. During that time, Daversa’s jazz skills won him the Herb Alpert Award, David Joel Miller Award, National Trumpet Competition, ITG Jazz Soloist Competition, and he was a finalist in the Thelonious Monk International Jazz Competition."

To fully appreciate Daversa's music, you have to suspend your traditional big band ears. This is an intersection of several music forms and styles, all held together with compelling melody lines and textured instrumentation. Reeds and electronica. Trombones and funky bass lines. At times, pieces feel like the FM dial when it's between stations and you can't decide which one you want. Orchestrations build smartly and know when and how long to remain far out. No two pieces tell the same story, and all nine tracks have a next-generation sensibility.

For example, Internal opens with a synthesizer and acoustic guitar. Flutes are added, along with trombones, drums and percussion. Then come fusion elements, such as heavier drumming and electric guitar. The big band makes repeated appearances behind the synthesizer. About two-thirds into the track, the synthesizer turns rock with the big band running jazz. Every tune brings these types of orchestral surprises.

Or dig Most of All, a ballad. Daversa's orchestration rises and falls with sighing grace reminiscent of Johnny Mandel's tender approach. Think I'm exaggerating? Hear it for yourself.

John Daversa is pioneering a new jazz sound. I only hope it pays well enough for him to establish a strong foothold so he can carry on.

JazzWax tracks: John Daversa's Junk Wagon: The Big Band Album (BFM) is available at iTunes or here.

JazzWax clip:Here's a clip of John Daversa's big band in the recording studio for this album...

Yes, Jay and John are father and son. I had the great pleasure of hearing them together and individually fronting a big band at one of the Los Angeles Jazz Institute's functions and they played superbly. I believe John has recorded with other big bands prior to this recording.

Ordered a copy. Very interesting so far (I'm about halfway through). Orchestral execution is impressive, as is clarity and presence of the recording. Would like to hear more solo work from the horn players. All I recall to this point is a trumpet solo and a flute solo -- both nice, though.

About

Marc Myers writes regularly for The Wall Street Journal and is author of "Anatomy of a Song" (Grove) and "Why Jazz Happened." Founded in 2007, JazzWax is a two-time winner of the Jazz Journalists Association's best blog award.